1. The International Student Movement

2. 1960: SNCC (Student Nonviolent Coordinating Committee) organizes from student sit-in at Shaw College, NC 1962: SDS (Students for a Democratic Society, Port Huron Statement 1964: Free Speech Movement starts at UC Berkeley 1965: First antiwar teach-ins at U. Michigan Antiwar march on Washington 1968: Student uprisings in Warsaw and Mexico City Student uprising at Columbia U. May-June 68, students, then workers, riot in Paris Protests at Democratic convention in Chicago 1970: Kent State. 4 students killed, 8 wounded by National Guard

3. Third cinema: common themes Formal innovation: the search for a new film language. Breaking with individual protagonist and conventional narrative Mixing modernist aesthetic strategies with political documentary To articulate an aesthetic language growing specifically from active liberation struggles and from the indigenous cultures of the countries involved. Necessity of creating parallel production, financing, distribution and exhibition. Collective rather than individual work, responsive to the groups being filmed and/or supporting the making of the film. The spectator as “participant-comrade.”

4. Influences on Third Cinema Frantz Fanon (Martinique/Algeria) Fernando Birri and the Documentary Film School of Santa Fe (Argentina) Glauber Rocha and Cinema Novo Revolutionary Cuban Institute of Film Art and Industry (ICAIC)

5. Frantz Fanon (1926-1961) Major works: Black Skin, White Masks (1952) Wretched of the Earth (1961) Towards the African Revolution (1964) Colonization as an experience of psychological as well as physical violence.

6. Fernando Birri and the Documentary Film School of Santa Fe (Argentina) John Grierson's theory of social documentary. Aesthetically ambitious films tackling social issues as a way not only of informing, but of promoting social change. Artisanal, low cost cinema working with public and private funds. Working on smaller economic scale. 1950s. Direct cinema: Jean Rouch, Use of lightweight 16mm camera and sound; existing light. Filmed subjects as co-creators of the film. Italian neorealism and the Centro Sperimentale. Marxist aesthetics. Greater focus on the question of national identity: divisions, conflicts, and struggles among indigenous cultures, social classes, and ethnic groups.

7. Glauber Rocha and Cinema Novo Black God, White Devil (1963), Antonio das Mortes (1968). The language of Western films fosters a cultural imperialism. Forging a cultural nationalism and a polemical, experimental style out of Brazilian popular traditions. Use of nonactors and improvisation. Looked to myths and traditions of Creole culture as a culture of resistance in the same way that the Creole peoples of Brazil subverted Catholicism with African and native spiritualism.

8. The Cuban Revolution and the ICAIC Importance of Cuba as a model revolutionary state in 60s. Founding of the Revolutionary Cuban Institute of Film Art and Industry (ICAIC) in 1959. Important directors include Tomas Gutierrez Alea, Humberto Solas, and Sarah Gomez, as well as Garcia Espinosa 1960: founded archive and important film journal, Cine cubano. 1979: founding of the International Festival of New Latin American Cinema in Havana Espinosa's manifesto written in 1969; published in Cuba in 1970. Representative of debates taking place at the Institute.

9. Third Cinema: common themes Opposition to propaganda or sloganized cinema of emotional manipulation. Emphasis on promoting a critical understanding of society rather than dogmatic adherence to a cause. Role of intellectuals in popular political movements. Refusal to prescribe a single film aesthetic. Acknowledging that each national, social, and political situation is specific. "Imperfect Cinema”: Emphasizes flexible, improvisational, and culturally responsive style of Third Cinemas. Opening a critical dialogue with the audience. An international dialogue among filmmakers and theorists.

10. "Third cinema is an open category, unfinished, incomplete. It is a research category. It is a democratic, national, popular cinema. Third Cinema is also an experimental cinema, but it is not practiced in the solitude of one's own home or in a laboratory because it conducts research into communication. What is required is to make that Third Cinema gain space, everywhere, in all its forms... But it must be stressed that there are 36 different kinds of Third Cinema.” Fernando Solanas